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Hi, Autobahn-photography, a special kind of street-photography,😉 on the A3, heading south (M9 - Elmarit 2,8/28 v4, f 5,6 ; crop) :

 

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13 minutes ago, yorda@ said:

Following our conversation, Colors aren’t that off;)

 

 

 

Yes, all is well !

50 Kinoptik f2 - M3 - Provia 100

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1 hour ago, yorda@ said:

Really nice Ecar, didn’t thought the 35 will fit this nicely in the M10M

Thanks. Well, the Kino 35/2 doesn't quite cover the FF sensor entirely (esp. wide open at infinity, of course), but a proper conversion should get you nearly there. Small dark corners and/or some degree of fall-off are to be expected depending on subject distance and aperture. If it bothers you, you can either (a) choose your subjects carefully, (b) remove some vignetting in post or (c) take it into account when framing and very slightly crop your images - or a combination of these. I try to avoid (c) but it's sometimes inevitable. Yes, this is one of the lenses that make you work for your images, but isn't it part of the fun?

Here's another one, again with the Kinoptik 35/2 on the M10M (f/2 or f/2.8, no crop, using (a) method😉 only).

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This one is the result of applying both method (a) and a bit of (b). No crop.

Btw, colours are gorgeous too with this lens - rich, warm, cinematic. I must have posted a couple here a while ago, but I'll try and get some more.

M10M + 195X converted Kinoptik Apochromat 35/2, wide open

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Following the above discussion, 

I usually crop the (full frame 3x2) shots taken with the 35 Kinoptik f2 lenses to the 4X3 format:

35mm Kinoptik Foyer f2 Leica M converted on the SL 601, 4X3 cropped:

 

 

 

At a very close distance, the vignetting goes away: 

Same combo  in full frame 3x2 (no crop):

 

 

Best , JM.

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Uncropped shot taken with the 35 Kinoptik f2  Focale on the M10

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One of my favourite spots...

M10P ASC + 1949 Angenieux S1 50/1.8 (Rectaflex converted to M), wide open

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Leica M10-P & Summicron Rigid 50mm F2

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50  Kinoptik f2  -  Provia 100 - M3

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50  Kinoptik f2  -  Provia 100 - M3

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M10M with Summicron 50mm Rigid V1

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M10P ASC + 1949 Angenieux S1 50/1.8 (Rectaflex converted to M), 1st @ f/5.6 and 2nd @ f/2.8

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M10P ASC + 1954 Angenieux S21 50/1.5 (Rectaflex converted to M), both wide open, 2nd one @ MFD

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summilux 35 pre-asph v2

m6

tmax 400

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One of the finest Sonnars IMO. This lens never ceases to impress me, no matter the version. This is from a (lighter) BP v1 copy.

M10M + 1956 Nikkor 85/2 LTM, wide open @ MFD

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12 minutes ago, Ecar said:

One of the finest Sonnars IMO. This lens never ceases to impress me, no matter the version. This is from a (lighter) BP v1 copy.

M10M + 1956 Nikkor 85/2 LTM, wide open @ MFD

I assume that the 85/2 is a Nikkor Sonnar design rather than a bona fide Sonnar that was specially produced for Nippon Kogaku Tokyo by Zeiss?  (For the avoidance of doubt I'm not suggesting that this affects the lens's excellent performance in any way.)

Pete.

 

 

1945 Carl Zeiss 50/2 Sonnar with M10.

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2 hours ago, farnz said:

I assume that the 85/2 is a Nikkor Sonnar design rather than a bona fide Sonnar that was specially produced for Nippon Kogaku Tokyo by Zeiss?  (For the avoidance of doubt I'm not suggesting that this affects the lens's excellent performance in any way.)

Pete.

 

 

1945 Carl Zeiss 50/2 Sonnar with M10.

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Lovely picture, Pete!

To your question: I guess (although I may well be wrong) that it would have been below Zeiss to produce a lens for Nippon Kogaku, although  they did provide them with glass for a few years after the war, before the Japanese glass industry managed to (re)build itself.
So yes, it's indeed a Japanese design derived from the Zeiss one.
My understanding is that NK chose to copy the Zeiss design because it was cheap to manufacture, and could therefore have been introduced on the Japanese market at an acceptable price point. And they simplified it further by replacing the last cemented element with a single one: 5 elements in 3 groups for the Nikkor, vs 6/7 elements (not sure, have seen conflicting sources, may depend on date/version) also in 3 groups for the Zeiss Sonnar. Incidentally, the wonderful Nikkor 85/1.5 is a more classic Sonnar type and retains a cemented rear triplet.
Crucially, however, NK appears to have focused on the coatings: the Nikkor 85/2 barely flares, even without its small hood, especially in its latest incarnations made in the late 50s - early 60s. Despite being the original inventors of lens coatings, it seems to me that this is an area where Zeiss had to play catch up: in my experience, only the Zeiss-Opton T 85/2 gets close to the Nikkor in terms of flare resistance. This may explain - pure conjecture on my part - why Nikkor lenses became so popular with photojournalists (famously including DDD) at the time.

Here's another with the 1956 Nikkor 85/2 BP LTM on the M10M, again wide open @ MFD. For the sake of it, it's the same subject and light as one of those I posted yesterday with a different camera/lens combination.
Oh, and for the avoidance of doubt, any comments on lens performance (as long as they go even slightly beyond "good lens" or "bad glass") are perfectly fine by me - and actually welcome: in case you didn't notice after all these years, I'm more of an observer, not a proud owner😉

 

 

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